The Baroque Cycle: Quicksilver, the Confusion, and the System of the World (369 page)

“I
HAVE FOUND
G
OD!”
Jack Shaftoe announces.

“What,
here
!?” says his interlocutor, a heavy-set chap in a black leather hood.

They are standing in a queue in the High Hall. Or rather Jack Shaftoe is, and the hooded man has come up to him, the better to inspect Jack’s Hanging-Suit.

The High Hall might be a bit of a grand name for it. It is simply the biggest room in the gaol, outside of the Chapel, and so it is where fitness-conscious felons come to toddle around, in an endless ragged procession. The center of their orbit is a block of stone set in the middle of the floor, and equipped with a few basic smithy-tools. Normally they are a wordy bunch, the Hall a hurricanoe of profanity, a Vortex of Execration. Today they are gagged by their own amazement. All stare inwards toward the two most famous Jacks in London: Shaftoe and Ketch, exchanging civilities like Addison and Steele. There is no sound except for the scraping of their chains on the floor, and the organized chants of the Mobb outside.

Then an ear-splitting clang sounds from the stone anvil. Another prisoner has just had his ankle-fetters struck off. The only restraint upon him now is a length of cord with which Ketch has lately bound his elbows together behind his back.

“The communion-bread, you know, is in the shape of coins,” Shaftoe remarks.

Then he thinks better of it, for Ketch thinks it’s funny, and forgets himself, and exposes his empty tooth-sockets, as well as a few that are soon to be empty. For the hood unfortunately stops at the level of his nose. Somewhere, Ketch must have a whole foot-locker filled with
false teeth, as no man in London is in a better position to collect them; but he has not worn any today.

“But how richer a treasure are those coins of bread, than ones of gold!” Shaftoe exclaims. “For gold and silver may buy admission to a Clubb, or other place of debauchery. But coins of bread have bought me admission to the Kingdom of Heaven. Assuming I can manage a few things in the next couple of hours.”

Ketch has utterly lost interest. How many times has he heard this identical speech from a client? He excuses himself very civilly, jumps to the head of the queue, and devotes a few moments to pinioning the next prisoner’s elbows with another length of cord.

When Ketch comes back, it is evident he has been thinking about Jack’s Hanging-Suit. “After this,” he remarks, “it will not be possible for you to change clothes.”

“Oh, you are a subtile one, Jack Ketch!” Shaftoe remarks.

“It is just that—according to some who style themselves in the know—you are destitute.”

“You think I
borrowed
this suit!? Fie on all such gossip-mongers, Mr. Ketch, you know better than to pay heed to them. This suit is every bit as much my own property, as that handsome hood is yours.”

Another clang. Ketch excuses himself again and binds up the bloke who’s directly in front of Jack. While he is doing so, he sniffles once or twice, juicily, as if the air in the High Hall does not agree with him. But of all men in London, Ketch must be the least sensitive to miasmas, damps, and vapours.

When Ketch turns back round, Shaftoe’s startled, and even a bit alarmed, to see, below the fringe of the hood, a teardrop trickling down his cheek. Ketch steps close to Shaftoe, close enough that Shaftoe, craning his neck (for Ketch is a head taller) can resolve individual cavities in Ketch’s last remaining incisor. “You can’t imagine what this means to me, Mr. Shaftoe.”

“No, I cannot, Mr. Ketch. What does it mean to you?”

“I’m in debt, Mr. Shaftoe, deep in debt.”

“You don’t say!”

“My Betty—the missus—can’t stop having little ones. Every year for the last eight.”

“You have eight little Ketches? How remarkable, that a man in your line of work should be such a fount of new life.”

“After the last hanging, one of my creditors tried to arrest me in the street! I’ve never been so ashamed.”

“Indeed! For a man in such a respectable profession, to be accosted in a public place, and accused of indebtedness, that is a grave humiliation!”

“What would my boys think of me if I wound up
here,
in Newgate?”

“You
have
wound up here in Newgate, Mr. Ketch. But never mind, I take your meaning.”

“They’d have to come and live with me. Here.”

“It is not the best environment for raising small children,” Shaftoe allowed.

“That’s why—excuse me—” Ketch steps behind Shaftoe, draws out another length of cord, and strings it between the latter’s elbows. Ketch makes a sliding knot, and begins to draw it tighter, bringing Shaftoe’s elbows closer together—but only a bit.

“It would be a shame to wrinkle the Hanging-Suit,” Shaftoe remarks.

“A great shame, Mr. Shaftoe, but more important to me is your comfort.”

Shaftoe smiles in spite of himself at this polite evasion. And with that smile on his face, he steps forward, raises a knee, and places one immaculate polished shoe on the stone anvil. “Do have a care with that hammer, my good man,” he says to the smith—a pox-ravaged prisoner who looks like he has been in Newgate since the Fire. “These clothes mean nothing to me, but they will soon be
inherited
by my good friend Mr. Ketch here. For he is not only my friend, and my sole heir, but the
executor
of my will. By the immemorial traditions of this Realm, all that I wear upon my person, and the contents of its pockets, are
his
at the moment of my expiration. In those pockets reside several coins of diverse denominations. If you go about your work soberly, and leave my shoes unmarked, Mr. Ketch may choose to reach into one of my pockets and fish out a rather large coin for your Civility Money; but if you ruin them, Mr. Ketch may have to recoup his losses by giving you
nothing
.”

In consequence of this, the smith spends more time getting Jack’s chains off than all the other condemnees put together. But get them off he does, and for his pains receives a handsome shilling from Shaftoe’s pocket and Ketch’s hand.

N
O TWO
T
RIALS
of the Pyx are the same. Details vary depending on whose ox is being gored at the time, and who’s goring it. Anciently the Mayor and Citizens of London would stand by and witness the whole rite, which was the most reasonable thing in the world given that the City men had a greater stake in the soundness of the coinage than anyone else. It made for some crowded and riotous Trials, and so at some point a jury of twelve respected City men came to stand in for the whole Citizenry. They would take a hand in those parts of the Trial that did not require any special Guild expertise, and observe the Jury of Goldsmiths carrying out those that did, and when the assayers had rendered their verdict, they would go out into London and relate the good or bad news to their fellow-Citizens.

In recent centuries the presence of the City men has slowly dwindled, to the point where Sir Isaac Newton has felt moved to complain that Trials of the Pyx have become a shadowy rite conducted by a cabal or conspiracy of Goldsmiths, unobserved and unaccountable. It is safe to say the Goldsmiths are no more pleased by these remarks than by anything else Isaac has done during his tenure at the Mint. Still and all, the entire point of the exercise is to prove Isaac a traitorous fraud, and, if at all possible, to see his hand chopped off in New Palace Yard. All of which is less likely to come to pass if Isaac can make a credible case that the Trial is rigged by a shadowy Guild. So for today’s Trial the pendulum has swung back as far as it can without inviting the whole City. It is a full-dress, dual-Jury affair. The City’s represented not only by the Lord Mayor but also by a full jury of twelve Citizens, separate from and independent of the jury of Goldsmiths. And they’ll not just watch but—mostly through their chosen delegate, Mr. Threader—participate. Only after these dozen Citizens have been recognized and sworn and shunted off to their own corner is it time for the Principals to be brought in and the Trial to begin in earnest.

The King’s Remembrancer asks for the Pyx. Out goes the Serjeant
at Arms. A minute later he’s back with the Earl of Lostwithiel in tow, and behind Lostwithiel are four more King’s Messengers carrying a palanquin on which rests the Pyx. This is set down before the table, and Lostwithiel avers that it really is the Pyx and that he fetched it in good order straight from the Tower, and no monkey business along the way.

The King’s Remembrancer then asks the Serjeant to summon the second Jury: that of the Goldsmiths. A minute later, the Twelve troop in, all a-gleam, and line up before him. They cannot take their eyes off the Pyx, at least not until the King’s Remembrancer speaks, as follows: “Do you swear that you shall well and truly, after your knowledge and discretion, make the assays of the monies of gold and silver that have been reposited in the Pyx, and truly report if the said monies be in weight and fineness according to the King’s standards of his Treasury, and also if the same monies be sufficient in allay,
et cetera
, according to the Covenant comprised in the Indenture thereof made between the King’s grace and the Master of his Mint, so help you God?”

“We do,” say the Jury of Goldsmiths.

Satisfied of that, the King’s Remembrancer asks for the Master of the Mint: the man, and the moment, everyone has been waiting for. All bodies and heads and eyes turn to follow the Serjeant out of the room, then remain motionless as his boot-steps recede through Star Chamber and the gallery beyond.

They wait, and wait, and wait, until every man jack in the room is quite certain that it really is taking longer than it ought to—
much
longer—
something
must be out of joint. A member of the City jury can be heard mumbling some kind of witticism. One of the goldsmiths says clearly, “Perhaps he’s at the hanging!” and another responds, “Perhaps he’s run off to France!” whereupon he is furiously shushed by no less than the Duke of Marlborough.

When all of that noise and bother die down, it is finally possible to hear people approaching Star Chamber—rather more people than the King’s Remembrancer asked for. The entourage, if that’s what it is, bates outside. The Serjeant comes in. On his arm is a young woman. They cross the floor of Star Chamber; her head turns to gaze curiously at the assayer’s furnace, whose red light shines on her, so that Daniel recognizes her as Catherine Barton.

She comes in to the chamber and is heralded by the Serjeant. Great is her fame, of course, and so the amount of ogling that now takes place is beyond all boundaries of dignity. It almost would have been better if she had showed up stark naked. “My lords,” she says, for with so many dignitaries in the room she daren’t speculate as to
who is in charge, “Sir Isaac Newton is ill. I have sat by his bed this last week and I beseeched him not to answer your summons. He would not heed me, but gave orders that he was to be brought here this morning no matter what. He is very weak, and so, if it please my lords, I have arranged to bring him here in his sedan chair. With your permission, I’ll have him brought in thusly.”

“As his nurse, Miss Barton, is it your opinion that he is fit to understand what is going on around him, and to be tried?” asks the King’s Remembrancer.

“Oh, yes. He knows,” Miss Barton insists, “however, because he is so very weak, he requests that Dr. Daniel Waterhouse act as his spokesman.” And, having now fixed on the King’s Remembrancer as the boss, she steps forward and hands him a letter, presumably written in Isaac’s hand, saying as much.

Generally not one to seize the moment, Daniel acts all out of character now by striding in to the middle of the room while most eyes are still trying to pick him out in the crowd. “If Sir Isaac’s proposal is acceptable to my lords, then I shall be honoured to serve as his hand and voice.”

There is a certain amount of looking back and forth now, but this does not alter what is inside the Pyx, or what is written on the indenture, and so in the end it does not really matter. Suddenly, important heads are nodding all around the room. “It is so ordered,” says the King’s Remembrancer, not before reading the letter through twice. “You have the gratitude of the Council, Dr. Waterhouse. Er, shall we have Sir Isaac’s chair brought in, then?”

“There is no precedent for this, and so pray allow me to suggest one,” Daniel says. “We are soon to move in to the Star Chamber for the Assay, are we not? Then rather than move Sir Isaac twice, I suggest we make him comfortable straightaway in Star Chamber. He can hear the indenture being read from there.”

“So ordered!”

Miss Barton curtseys her way out and flits across Star Chamber, calling to Daniel with her eyes. Daniel excuses himself and backs out. Heads lean in and faces turn to line the doorway. Daniel is confronted by the black obelisk of Isaac’s sedan chair, suspended between two astonished-looking porters. Miss Barton is hissing directions: “In the corner! The corner! No, that one!” There is some almost comical turning about, but finally they understand what she wants: for the sedan’s door to face toward a corner of Star Chamber so that when the door is open Isaac, in his pitiful state, won’t be visible to the entire Chamber. Finally they get it set down the way she wants it. Daniel side-steps through a narrow gap between pole and wall, and backs in to the
corner. He glances up one time to see all of those faces in the next room peering through the doorway at him. Then he undoes the latch on the sedan chair’s door and opens it. The first thing he sees is a hand, pale and still, gripping an ornate key. He opens the door farther, letting light shine in so that he can see Isaac sprawled against the wall of his black box, eyes open and mouth a-gape, perfectly still. Daniel need not check his pulse to be certain that what he is looking at, here, is the recently deceased corpse of Sir Isaac Newton, dead at age seventy-one of Newgate gaol-fever.

T
EN MINUTES LATER
they are down in the Press-Yard, just off Phoenix Court. It is called a Yard but is really nothing more than a fortified alley. A short caravan is drawn up there, waiting to convey them all to Tyburn: a wagon containing various tools of Mr. Ketch’s trade; a spacious open cart, already loaded with empty coffins; and, drawing up the rear, a sledge. The cart is for most of the condemnees, for Ketch, and for the Ordinary. The sledge is reserved for Shaftoe, it being the tradition that a traitor be dragged to his death facing backwards. Mere hanging is too good for such a vile person, wheels are too nice.

As the condemnees progress from each stage to the next, their entourage grows. Here in the Press-Yard there must be two score men, mostly gaolers with cudgels, but a few constables as well. Jack’s beginning to see blunderbusses. A sort of corridor is formed, tending to funnel them straight to the big cart. The other prisoners clamber up and sit down, using coffin-lids as benches. Jack is directed to his wheelless land-barge, which has a plank to sit on, but no coffin; by the end of the day, a coffin, or indeed any other container, will be quite wasted on him.

Mr. Ketch, who is nothing if not organized, opens one of the several lockers on his supply-wagon, and pulls out several lengths of rope. Each of them has a hangman’s noose in one end. He tosses all but one of them into the big cart, then circles around to the rear where he addresses Jack.

“It’s a fine one, eh?” he exclaims, holding up the noose.

“If you were not wearing a black hood you’d be glowing with pride, Mr. Ketch. But I do not know why.”

“This rope I got from a pirate-captain I hanged last year.”

“He supplied his own rope?”

“Indeed. A hawser, he called it. Look at the thickness of it.”

“He wanted to be sure the rope would not break? That seems very odd to me.”

“No, no, I’ll show you!” And Ketch steps round to Shaftoe’s left side and fits the noose over the latter’s head. The rope is so thick and stiff, the noose so tight, that it can barely close around Shaftoe’s throat. But the knot lodges under his left ear like a great bony fist. “Feel that leverage—now you’ll take my meaning, sir!” Ketch says, pulling up once or twice on the loose end of the rope. Each time he does, the knot, bearing on the heel of Shaftoe’s skull, crowbars his entire head forward and to one side. “And look at the length of it!” Shaftoe turns to see that Ketch has retreated to a distance of some two fathoms, but still has not run out of rope. “With this I can give you a drop such as few men are afforded, Mr. Shaftoe, very few. By the time you get to the end of this rope you’ll be moving as fast as a cannonball. You’ll be smoking a pipe in Heaven long before I chop off your testicles and shovel your guts out; and the quartering will mean as little to you, as coffin-worms to a dead bishop.”

“You are a princely fellow, Mr. Ketch, and Betty is fortunate to have you.”

“Mr. Shaftoe,” says Jack Ketch in a lower voice, stepping up very close to him now, and absent-mindedly wrapping the loose rope into a neat coil, “I shan’t have leisure to exchange words with you again, until we are standing beneath the Tree. For I’ve other prisoners to tend to, as you can see, and the journey to Tyburn promises to be, er…”

“Festive?”

“I was going to say ‘eventful,’ not wanting to show disrespect. I’ll be in the cart. We shall not be able to hear each other. Since you’re facing backwards, we shall not be able to
see
each other. Even when we are face to face beneath the Tree, the noise will be such that we’ll not be able to exchange a word, though we scream in each other’s ears. So I say to you now, sir, thank you! Thank you! And know that you shall feel less pain today than a man who bangs his head on a door-frame in a dark room.”

“In the way of pain, I ask for nothing more nor less than what I deserve,” says Shaftoe, “and I shall entrust you, Mr. Ketch, with that determination.”

“And I shall prove worthy of that trust sir! Farewell!” says Jack Ketch.
He turns his back on Shaftoe as if he’s afraid he might cry again. He straightens his back, works on his composure, smooths down his hood, and steps up into the cart, where he has other clients waiting.